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Two years for me
Hey Wall_E, seems like your strategy is about as full-proof as one could be. I’d say in a case like this, where you’re not finding any further information about other labels specifically, perhaps just submit your music through the main generic email and make mention of the label(s) you’re seeking. Tie that into your submission email with a personalized approach you’re likely already using.
I feel your pain! Hope that helps!
I actually saw a significant increase. Curious to see the actual statement.
Music 1234 – : thumbs up :
Can any of you (Music 1234, LAwriter, etc) drop a link to any of your licensing platforms, personal website that you license your music from, etc? I’d like to see what a lot of this looks (and sounds like) in action. Thanks in advance!
Down ~40% from this quarter’s previous year.
I’m seeing a similar difficulty here as I’ve been looking and auditioning new libraries since having been “mibed.” My emails go a little further than what you’re describing ( @classified x ), but I’m not sure if the emails are even being read or not. I know the music I’m sending is not getting listened to. Waited months and months with follow-up emails. I was not sending out links to albums/music collections though, just a small grouping of similar genre tracks (as most of the libraries I’d work with functioned this way).
I’m changing my approach though to put together some albums of music to see if that helps at all.
Hey Steve, while many keep their own spreadsheets with this info already in place there’s also a commercial option available called Composer Catalog.
I think trailer music was just picked for conversation sake. And many of the callers were initially talking about sample libraries rather than music libraries. When the conversation redirected to music libraries the callers tended to be more unsure.
If it were me (as some have stated above) I’d wait, put together a few more tracks, and search out libraries that are placing similar styled tracks. Cool track; good luck!
Welcome! Central Florida here.
Good stuff, man! Some of that orchestration reminded me of fellow composer Robin Hoffmann. Certainly can hear the influences mentioned above as well. Keep it up!
They should have a downloader app that you install on your computer first, then when you download the library it’ll ask if you want to use their app, then you can set the target of where you want the library to locate. That’s how it worked here but I’m on Mac.
@SomeGuyDoingStuff
David, thanks for sharing your music with us. I think it’s difficult to feedback on the composition because I don’t know what your target for this music is. I will say that you’ve got some very wonderful music on your SC page. I listened to each piece first and noticed something. It seems like you get bored (or tired) of your initial musical ideas very quickly; faster than your audience does at least. I have this problem especially when my writing process slows waaayyy down. You’ve heard your idea a gazillion times by the time you bounce the track out. We’ve only heard it once or twice. Stay patient with your initial melodic ideas and don’t be afraid to also take a little more time with your layering of instruments. Just my observation so take that with a grain of salt.
In terms of the mix of this track I’d look back at some of your other tracks (like Pilgrim and JL’s Theme). I think you created a better sense of space and depth in those mixes than you have with your East Boardwalk theme. You’re really great at creating an ambiance with all of the ‘picky plucky’ sounds happening. You might have room to push the sounds even further to the left and right….then using some delays to get them pinging around the space even more and widen your stereo space a bit.
With your long strings I’d just say you have some room to sculpt their entrance and exits even more….and try to avoid just sitting stagnant on longer sustains using a combination of CC1 (modulation) and CC11 (expression) if your library allows for it. You can also try attaching a very subtle delay to your 1st violins that gently throws some sound back towards the center and right side of the room…and doing the opposite for cellos (if that’s how you have them seated).
One last little quick thing I noticed with the mix is it feels a little too compressed possibly. It just doesn’t have the same dynamic range as your other pieces (written in a similar genre). You can see it in the waveform actually. There’s a decent amount of things fighting for frequency space but perhaps this was by design.
Hope something in there was helpful! Thanks for sharing!